Design for Performance: Scenic, Lighting and Costume Design Spring 2012 Unique #26040 Tuesdays and Thursdays 9: 30Am -11:00Am SCENIC: WIN Rm

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The University of Texas at Austin Department of Theatre and Dance TD 314C - Design For Performance: Scenic, Lighting and Costume Design Spring 2012 Unique #26040 Tuesdays and Thursdays 9: 30am -11:00am SCENIC: WIN rm. 2.138 * LIGHTING: WIN rm. 1.164 * COSTUME: WIN rm. 1.139 SCENIC DESIGN: Rowan Doyle [email protected] Office:Win B.204 (Grad design studio) Office Hours: TBA Scenic TA: Jocelyn Pettway [email protected] LIGHTING DESIGN: Rachel Atkinson [email protected] Office: Win B.204 (Grad design studio) Office Hours: Tues: 11-12, Thurs:11-12 and by appointment COSTUME DESIGN: Barbara Pope [email protected] Office: Win 1.113 Ph: 512-232-4436 Office Hours: Wed. 11:30-1:00, Thurs: 11:00-1:00 Costume TA: Kaitlyn Alyward [email protected]

COURSE DESCRIPTION: This course is an introductory overview of design for performance from the perspective of the scenic, costume and lighting designer. You will learn about the design process and the artists and technicians involved in bringing a design to life. The class will be divided into three groups and will rotate through each design area. You will be asked to participate in various roles throughout this course, including researcher, designer and critic. Students’ success in this class requires active learning, and participation. Upon successful completion of this course you will be eligible to take more advanced courses in the respective design disciplines.

COURSE GOALS: *To explore the design process through a variety of approaches and techniques. *To use critical thinking to investigate and analyze a text from the perspective of the designer. *To develop visual research skills. *To develop a design concept based on your investigation, analysis and research. *To develop a vocabulary for communicating about design for performance. *To introduce basic design tools such as sketching, rendering and model building. *To recognize ways in which design functions as a part of everyday life.

COURSE POLICIES: Assignments: Assignments are given in class and also posted to blackboard. The main assignment for each section will be clearly defined and explained on the first day of that section and again when the due date approaches. Smaller assignments may be given during class throughout each section. This course relies heavily on research, homework and preparation. You will need to be able to use the UT library system and the Internet. It will be necessary to have a working knowledge of Word, Excel or some other word-processing and spreadsheet program. It will be necessary to have access to a computer, a scanner, a copier, and a printer. Remember to back-up your work frequently because technological failure is not considered an excuse for late work. Expectations: Students are responsible for all information given in class (both spoken and written) and all assignments. Assignments, class calendar, weekly schedule and other pertinent course documents will be posted on Blackboard. You will find a folder for each section under COURSE DOCUMENTS. You are responsible for missed work and assignments due to an absence. NOTE: This is a studio class and in some cases you may not be able to make up work done during class time.

Grading: All three sections, costume, lighting, and scenic design, will be averaged together to create the final grade for this course. You will receive individual assignment grades as they become available and a grade for each section when a rotation is completed. The group discussion and written playscript analysis will be worth 5%, each design section 31% (x3) and 2% for drawing lab attendance and participation for a total of 100%. NOTE: Attendance will be applied to the final course grade. See ATTENDANCE POLICY Grading criteria: A: You turn in work on time. You frequently participate in class discussions, and critiques applying concepts you have learned in class. Your work is fully thought out, shows careful attention to detail, and exceeds section expectations. Your research supports your decisions, and is appropriate to each project. Your presentation is clear and effective with special care to neatness and organization. Your work shows growth and improvement over the section. B: You turn in work on time. You often participate in class discussion and critique, applying concepts you have learned in class. Your work is thought out, shows attention to detail, and meets section expectations. Your research supports your decisions and is appropriate to each project. Your presentation of your work is cohesive and is neatly constructed. Your work shows growth and improvement over the section. C: You turn in work on time. You participate from time to time in class discussion and critique. Your research is appropriate to each project. Your presentation of your work is complete. Your work shows minimal growth over the section. D: You do not turn in all of your work. You participation in class discussion and critique is uneven and the quality of your work is inconsistent. Your work shows minimal or no growth over the course of the semester. F: You do not turn in all of your work. You participation in class discussion and critique is unsatisfactory and the quality of your work is poor. Your work shows no growth over the course of the semester. Late Work Policy: Absolutely NO late work will be accepted. Incompletes: There will be NO incompletes given. The last day to drop this course without penalty is the 12th day of class. Accommodations: The University of Texas at Austin provides assistance to students with disabilities. Students requiring assistance with disabilities must make a formal request immediately through the Office of the Dean of Students, Student Services Building, room 4.104. Tel: 512.471.6459. Scholastic Dishonesty: According to the University of Texas at Austin policy, scholastic dishonesty includes, but is not limited to, plagiarism and cheating. Students who violate University regulations on scholastic honesty will be subject to disciplinary action, including failure of the course and/or dismissal from the University. For more information, please consult: www.utexas.edu/student/registrar/catalogs. Attendance: Due to the studio nature of this course, attendance is expected at all scheduled classes. You are allowed three absences for the entire semester without academic penalty. Absences in excess of that number will result in your final course grade being reduced by one letter grade for each excessive absence. Excused absences related to UT sports or similar activities must be excused at the beginning of the semester, and all work must be made up in advance. If you are ill or have a family emergency you should email, in advance of the class you cannot attend. Tardiness Policy: Tardiness counts against your grade. You are tardy five minutes after the beginning of class. Two tardies will equal one unexcused absence. Arriving more than five minutes late constitutes a tardy. Policy on Absence for Religious Holidays: Notice must be given at least fourteen days prior to the classes scheduled on the dates the student will be absent. For religious holy days that fall within the first two weeks of the semester, notice should be given on the first day of the semester. Communication: Email is recognized as an official mode of university correspondence; therefore, you are responsible for reading your email for university and course-related information and announcements. You are responsible to keep the university informed about changes to your e- mail address. You should check your e-mail regularly and frequently to stay current with university-related communications, some of which may be time-critical. You can find UT Austin’s policies and instructions for updating your e-mail address at http://www.utexas.edu/its/policies/emailnotify.php. Questions: You are encouraged to come and see your instructor or to communicate via email with questions, ideas, suggestions, and comments. Cell Phone Use: Cell phones are required to be silenced or turned off and put “out of sight” for the duration of class. Texting during class time will not be tolerated. If extreme circumstances require your attention to a phone call, please let the instructor know prior to the beginning of class. Lap Top/IPAD Use- These are not to be used in class on a daily basis. Exceptions will be made for presentation days and specific assignments. Changes: The instructor reserves the right to modify this syllabus at any time. Supplies: Throughout all three sections of this course you will need various art supplies and copies. They are outlined more specifically in each section folder. There is a resource list on the last page of this syllabus.

SECTION DESCRIPTIONS: Scenic Design Section: This section will introduce students to the study and practice of scenic design for the theater. The students will gain a better understanding of how designers create the environments for theatrical productions in relationship to the script, the collaborators, the scenic & prop shops and the production as a whole. At the end of this section the students will be able to continue their own investigations as designers or better understand how the design process relates to the whole production, thereby making them more sophisticated theater practitioners regardless of their chosen discipline. Objectives: *To introduce an understanding of the role of the scenic designer in the context of the creation of a theatrical production. *To learn the skills required to analyze, break down and interpret a play. *To effectively research and examine historic and artistic sources that aid in the creation of scenic design. *To examine the theater spaces most typically used for performance in order to understand how best to create scenery for a specific space. *To explore the tools and methods used by designers to convey their ideas to their collaborators. *To develop methods for generating ideas and problem solving

Costume Design Section: This section introduces you to the knowledge, skills and techniques costume designers use during the design process. We will examine how costumes create and transform character and communicate visual signs that tell the story of the play. We will also explore how costumes help shape a cohesive visual world along with scenic and lighting design. You will work with the assigned script to complete a comprehensive design project, which includes script and character analysis, research, concept development, preliminary costume sketching, fabric selection, and final color renderings. This section uses a combination of lectures, discussions, demonstrations and class exercises to guide students through the design process. At the same time, students will be introduced to concepts and techniques vital to the visual communication and execution of design ideas, principles and elements of design, along with artistic techniques such as collage, drawing, and painting. You will be encouraged to discuss your work and describe your creative process. You will also be asked to critically examine and discuss the work of both fellow students and professional designers that we look at together in class. OBJECTIVES: •To critically analyze the script and characters from the costume designer’s perspective •To develop visual research skills for costume research •To develop working knowledge of the principles and elements of design and their application in costume design •To explore artistic techniques and mediums used for visual communication of design ideas * To articulate your design ideas through writing, discussions and verbal presentations *To understand the role of the costume designer in the production process

Lighting Design Section: This section introduces you to the knowledge, skills and techniques required in the area of lighting design. We will examine color theory, angles of light, the design process and the paperwork required of the lighting designer. We will design cues for an assigned project utilizing the lighting lab. OBJECTIVES: •To have a basic understanding of lighting equipment and its use in the theatrical space. •To understand the basic design process of a lighting designer. •To have a basic understanding of angles of light and the use of color in lighting design. •To have a general understanding of the plot and paperwork. •To have the opportunity to create lighting cues in the laboratory space.

SUPPLY SOURCES Copies/Printing/Art Supply/Hobby Stores/Hardware Flawn Academic Center (FAC) Located on the West Mall across from the Tower University Co-op (on the drag) 2246 Guadalupe Austin, TX 78705 512.476.7211 Kinkos (Campus) 2901-C Medical Arts Austin, TX 78705-3325 Phone: (512) 476-3242 Kinkos 5601 Brodie Ste 1210 Austin, TX 78745 Phone: (512) 892-1992 Miller Blue Print 501 West Sixth Street Austin, TX Jerry’s Artarama 6010 N IH 35 Exit 238A Austin, TX 78752 Phone: (512) 420-9359 Asel Art Supply Inc 510 W. MLK Jr. Blvd Austin, TX 78701 512-477-1762 Michaels Arts and Crafts 5601 Brodie Ln, Ste 200 Austin TX 78745-2512 (512) 899-2800 Kings Hobby 8810 N. Lamar Blvd. Austin, TX Hobby Lobby 4040 S. Lamar Blvd. Austin, TX (CLOSED Sunday) The UT Art Store Co-op 2242 Guadalupe Austin TX Breed and Co 18 W. 29th Street Austin, Texas 78705 512.474.6679 Lowes 8000 Shoal Creek Blvd Austin, TX 78757 (512) 634-4330 Home Depot 7211 N I-35 Service Rd Austin, TX 78752 (512) 458-8012

Suggested reading and books for your design library! Theatre Design: Ball, David. Backwards and Forwards: A Technical Manual for Reading Plays Ingham, Rosemary. From Page to Stage: How Theatre Designers Make Connections Between Scripts and Images. Ebrahimian, Babek. Sculpting Space in the Theatre: Conversations with top set, light and costume designers. Designers write about their work in interview format, discussion of process and life in the theatre business. Covers all disciplines. Scenic Design: Carter, Paul. Backstage Handbook: an illustrated Almanac of Technical Information, 3rd ed. -a really useful technical guide for the nuts and bolts of technical theatre. Crabtree, Susan and Peter Beudert. Scenic Art for the Theatre: history, tools and techniques, 2nd ed. - comprehensive look at scenic painting techniques. Davis, Tony. Stage Design. -inspiring look-book of designer work from process to final production with writing about the design process. Woodbridge, Patricia. Designer Drafting for the Entertainment World -a good handbook and how to with nice examples of designer drafting for different kinds of entertainment scenery. Costume Design: Tan, Huaixiang, Character Costume Figure Drawing -a great guide to costume rendering Stabin, Mel, The Figure in Watercolor -a good technique book for rendering with watercolors Ingham, Rosemary. The Costume Designer’s Handbook (2nd addition) - step-by-step guide through the by costume design process from script analysis to production, artist list for research by fashion pd. Pecktal, Lynn, Costume Design: Techniques of Modern Masters - excellent guide to the design work of established costume designers and illustrators, great for rendering inspiration. Lighting Design: Keller, Max, The Light Fantastic -great book for introduction to lighting design

OBJECTIVES: •To have a basic understanding of lighting equipment and its use in the theatrical space. •To understand the basic design process of a lighting designer. •To have a basic understanding of angles of light and the use of color in lighting design. •To have a general understanding of the plot and paperwork. •To have the opportunity to create lighting cues in the laboratory space.

ASSIGNMENTS:

Photograph Analysis (15 Points) The first part of this section will focus on understanding the properties of light, as well as seeing light on a subject. You will be asked to find three images and analyze the lighting sources on a subject in those images. For each image you will write a paragraph describing each of the properties of light in your chosen image.

Photograph Reproduction (20 Points) In this project you will translate the lighting from a photograph or painting into a design. You will be asked to choose an image from those provided on blackboard and working with partners use the lighting lab to recreate the lighting. Each partner will complete their own reproduction, and submit a photograph of their final design. You will then complete a one page written analysis of your process. This project will be an introduction the equipment of the lighting lab, as well as a chance to begin exploring angles of light.

Picasso at the Lapin Agile Design (25 Points) This project will have two parts: first a presentation, then a realized lighting design. You will be asked to choose a monologue from the play; several will be posted on blackboard. For your monologue you will find several research images, as well as develop a design concept, both of which you will present to the class. Your presentations should be clear, concise, and practiced. We will then respond as a class, focusing on strengthening our colleagues design work and presentation skills. Using your research and concept, you and a partner will light a dramatic reading of your chosen monologues. You will then present these final designs in class. In addition, you will document your design with typical lighting paperwork.

Music Design (25 Points) You will be asked to create visual support for a piece of music. Several musical selections will be provided. For your chosen piece you will find visual research and develop a design concept. Working with a partner in the lighting lab you will create visual support for your music. You will then present the research, concept and design in class. We will then respond as a class, focusing on strengthening our colleagues design work and presentation skills. Using your colleagues’ feedback you will be asked to revise your design, and present the final piece on the last day of the section. In addition, you will document your design with typical lighting paperwork.

Lighting Journals (15 Points) There are six lighting journals due in this section of the class. You will be asked to sit somewhere for ten minutes and simply watch the world. After that time you will write up to a page describing the lighting that you saw. The more you are able to focus on your observations and ignore laptops, phones, and other distractions the more successful these journals will be. Journal topics are sunset, noon, night, interior, and two free choice.

GRADING: This section is worth 31% of your total class grade. It will be combined with the grades from the costume and scene design sections and the playscript analysis assignment to determine the final course grade.

SUPPLIES: This section will require a substantial amount of printer ink. All images are to be printed in color. Running out of ink is not a valid excuse, and points will be deducted. Research images must be printed at least 5”x7”; projects must be printed at least 8”x10”.

SECTION DESCRIPTIONS: Scenic Design Section: This section will introduce you to the challenges of scenic design for the theater. I hope you will gain a better understanding of scenic design; the process, challenges, and the many ways scenery influences the production as a whole. At the end of this section the students you will have a better understanding of the complexities of scenery design, helping you to be a better theatre artist, no matter what your discipline.

By the end of this course you should learn: * helpful ways to analyze and study scripts as a scenic designer. * the steps to effectively research and examine historical periods and artistic inspiration that aid in the creation of a successful design. *how to examine theater spaces and determine different ways that scenery can function within them. *To explore the tools and methods used by designers to communicate their ideas. *To develop methods for generating ideas and problem solving.

Script analysis and breakdown (20 points) The first section of the class will focus on how to read and examine a play in order to make the most interesting and effective decisions for the design of your production. You will be asked to write a one-paragraph response to the play as well as a brief description of each of the characters in the play. In addition we will be breaking the script down into scenes. For each scene you will have to create a document indicating what is on stage, who is on stage, and what happens on stage as specifically as possible. This breakdown will be valuable to you as you begin the design of your set. Model Box (15 points) A model box is a scaled representation of the theater space for which you are designing your play. In our case we will be creating 1/4”= 1’0” models of the Lab Theater. Due to your limited time together as a group we will be working as teams to complete two model boxes that will be shared by the class and you will be graded as a group on your accuracy, completeness and neatness. This project will also serve as an introduction on how to read a ground plan and section, and how to use, create and interpret scaled models and drawings. Preliminary Research (15 Points) Armed with a full understanding of the play, you will be asked to present preliminary research that informs the concept you have for your production. This research should come from both historical and artistic sources. Each student is required to have a minimum of 20 research images printed and presented clearly and neatly in class. Preliminary Presentations (15 points) The preliminary presentation is your first opportunity to demonstrate your concept for your production. You may do this in the manner you feel most able to convey your ideas to the class. We will discuss the various options for presentation in class. It is important that your ideas are clear, your presentation is neat and professional, and that you are able to support your choices with your analysis of the play and your research materials. As a class we will critique each project with an aim in assisting our colleagues to make the best design decisions possible for their imagined productions. Final Design Presentations (25 points) Each student will be asked to give a final design presentation similar to those that would be done by scenic designers for their production teams when the designs are due. This presentation will include all the work done by the designer to this point plus a complete 1/4” scale white model of the design. We will put these models into the model box created earlier in the course. The goal of the presentation is to communicate your design clearly to your colleagues who will then have the opportunity to ask questions and provide feedback. Class Participation: (10 points) Due to the short amount of time we have with each section it is imperative that you attend all classes and participate in the discussions and presentations. PARTICIPATION DOES NOT JUST MEAN SHOWING UP. IT ALSO INCLUDES BEING AWAKE, LISTENING AND PROVIDING QUESTIONS OR INSIGHTS TO ADD TO THE DISCUSSION. See the attendance statement under the Course Policies section. Scenic Supplies: Supplies are dependent upon your specific design. These are items that you will likely need for your project. If you are interested in continuing in scenic design, you will need all of these materials. PLEASE NOTE: IF YOU SHOW UP TO A WORKSHOP DAY WITHOUT MATERIALS AND CANNOT WORK YOU WILL BE COUNTED AS ABSENT. *Architect Scale Ruler (please ensure that you do not purchase an engineering scale ruler) *Xacto Knife with No. 11 Blades *Replacement blades for Xacto knife *Cutting Mat (limited number of these will available in the drafting room but cannot be removed) *Metal edged ruler for cutting *Quick Dry Tacky Glue or White Elmer’s Glue *Spray Adhesive *Black Foam Board (required for Model Box) *Sketchbook *Watercolor paper *Illustration Board*Bristol board*presentation printer paper *Acrylic Paints and watercolors *Palette *A variety of paint brushes *Gesso *Model making supplies that may include: modeling clay, thin gauge armature wire, basswood scale lumber, a variety of paper types, floral foam, bits and bobs.... You will be able to find most of these supplies at the many art stores in the Austin area.

Assignments/Projects-general descriptions/Grading percentages Character analysis: A written analysis for each character in the play. The analysis should include the facts gathered from the script and your own assessment of the character and their behavior. This, along with your play analysis and research, becomes the foundation for your design choices. 15 percent

Costume Research: A collection of research that is period and character specific. The images should be dated and sources listed. Grading is based on the variety of sources used, organization, depth and breath. Emphasis is placed on using sources other than the Internet. 20 percent

Concept statement: A written paragraph (or more) that describes your approach to the play and your design. For example this statement could include statements regarding color, silhouette, research discoveries or what most inspired your design choices. It should reflect your personal response to the play. 10 Percent

Preliminary sketches/presentation: Pencil sketches of your initial costume ideas for the characters as assigned. You will share your sketches with the class and briefly discuss your initial design ideas. 15 percent

Final sketches and presentation: The final costume renderings will be presented at the last class meeting of the section. The sketches should be done on art paper of quality and colored with your choice of medium. Each sketch will be labeled with the play title, character name and the appropriate Act and scene numbers. Fabric swatches should be attached to reflect your choices for each costume piece. A brief verbal presentation to the class will accompany your final sketches. 30 percent

Class participation/in class work/studio time: It is imperative that you attend all class meetings and participate in class discussions and presentations. Participation means more than just “showing up”. It includes being awake, listening, asking questions and providing insights that add to a discussion. You should also be prepared to work in class when we have studio time. You will need to bring work in progress and supplies as required. 10 percent

Due dates and further details for each assignment will be given in class.

You are expected to attend 2 of the 6 required drawing lab sessions during the costume section. This is part of your overall course grade.

Costume Section Supplies *Water color paper- you will need a minimum of 10 sheets, must be larger than 8X10 *Water color brushes – a set of 4-5 brushes or purchase individually, they do not need to be large *Water color set – a set of 8 will work but will require more mixing, a set of 12-24 works well, dry paints preferred but water color tubes are also fine *sketch paper/ pad –NOT your printer paper *drawing pencils-not mechanical *kneaded eraser *Optional: if you have other art supplies: colored pencils, markers, water color pencils-these can all be used in this section. *We will go over this supply list and show examples at the first class meeting so you may wish to wait to purchase these.

The costume section is worth 31% of the overall course grade. It will be averaged with the scenic and lighting sections for 93% of the course grade. The drawing lab and play analysis comprise the remaining 7%. See the general course syllabus grading section for further information.